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VOCATIONAL  GUIDANCE  IN  MUSIC 


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CARL  E.  SEASHORE 


SEPTEMBER,  1916 


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UNIVERSITY  OF  IOWA 
MONOGRAPHS 


.  VOCATIONAL  GUIDANCE 

IN  MUSIC 


Published  by  the  University,  Iowa  City.  Iowa 

Issued  monthly  throughout  the  year.     Entered  at  the  Postoffice  in  Iowa  City,  Iowa, 
a«  §econd  Clas?  Mail  Matter 


i 


St  I 


IN  THE  SERIES  ON  AIMS  AND   PROGRESS  OF  RESEARCH 


VOCATIONAL  GUIDANCE 
IN  MUSIC 


CARL  E.  SEASHORE 

Professor  and  Head  of  the  Department  of  Philosophy  and  Psychology,  and  Dean  of  the 

Graduate  College 


COPIES    MAY    BE    OBTAINED    ON    REQUEST 
FROM  THE  LIBRARIAN  OF  THE  UNIVERSITY 


^fo^^S 


PREFACE 

The  appearance  of  this  bulletin  marks  the  inauguration  of  a 
system  of  vocational  guidance  in  music  based  upon  laboratory 
measurements  in  the  psychology  of  music.  The  newly-coined 
term,  Psychology  of  Music  Studio,  is  intended  to  convey 
the  two-fold  idea  of  the  scientific  method  of  modern  psy- 
chology, which  is  a  laboratory  science,  and  the  artistic  spirit 
of  the  musician  in  his  studio.  Hereafter  no  serious  efforts  in 
vocational  guidance  in  music  can  afford  to  separate  these  two, 
the  method  of  the  science  and  the  spirit  of  the  art.  The  art 
spirit  has  prevailed  among  musicians  in  all  times,  but  the 
introduction  of  the  scientific  attitude  and  Of  the  scientific 
technique  for  the  "discovery  of  the  individual"  has  been 
contingent,  not  only  upon  the  development  of  '  experimental 
psychology,  a  science  of  very  recent  origin,  but  also  upon 
the  development  of  the  technique  of  applied  experimental 
psychology  in  this  field  of  music ;  for  applied  psychology  is 
quite  as  distinct  from  pure  psychology  as  engineering  is  from 
physics,  and  the  pure  science  must  come  before  the  applied. 

To  those  who  have  watched  with  interest  the  development 
of  this  field  in  Iowa,  the  present  bulletin  is  intended  as  a 
greeting  and  a  report  of  progress.  But  the  specific  purpose 
of  this  announcement  is  to  plaice  the  facilities  of  the 
Psychology  of  Music  Studio  at  the  service  of  the  public  with 
a  cordial  invitation  to  utilize  its  facilities  for  the  discovery, 
guidance,  and  fostering  of  musical  talent. 

C.  E.  S. 
Iowa  City,  Iowa, 

September  5,  1916. 


MT\0 


VOCATIONAL  GUIDANCE  IN 
MUSIC 

Talent  for  music  is  a  "gift"  bestowed  by  nature  upon  different 
persons  very  unequally.  We  recognize  this  by  speaking  of  some 
persons  as  musical  and  others  as  not  musical  in  various  degrees. 

This  talent  can  be  measured.  "With  the  wonderful  develop- 
ment of  modern  psychology,  it  is  now  possible  to  make  reliable 
and  fairly  complete  measurements  of  the  fundamental  capacities 
which  constitute  musical  talent  early  enough  to  serve  as  a  guide 
in  the  selection  and  planning  of  a  musical  career. 

Musical  talent  is  not  one  thing  or  capacity.  It  represents 
scores  or,  if  we  count  in  finer  detail,  hundreds  of  fairly  distin- 
guishable capacities,  any  one  of  which  may  be  absent  or  highly 
developed,  quite  independently  of  the  other.  There  are,  there- 
fore, many  kinds  and  proportions  of  musical  talent,  and  it  is 
worth  while  for  the  person  who  is  to  invest  a  life  of  talent  to  have 
information  about  the  specific  nature  of  his  talent  and  its  pos- 
sibilities. 

Thus,  it  comes  about  that  the  measurement  of  musical  talent 
is  not  one  measurement  but  a  large  number  of  measurements 
which  must  be  built  up  into  a  system  so  as  to  represent  fairly 
the  most  salient  features  of  musical  talent.  It  is  necessary,  for 
example,  to  know  the  sensitiveness  of  the  ear  to  tones,  the  musi- 
cal imagination,  the  musical  memory,  the  musical  intellect,  the 
musical  feeling,  the  time-sense,  the  sense  of  rhythm,  and  the 
sense  of  harmony  and  melody,  which  are  capacities  involved  in 
the  hearing  and  appreciation  of  music.  Likewise,  it  is  necessary 
to  know  the  corresponding  facts  about  the  ability  to  express 
music  in  singing  and  playing.  Different  instruments  require 
different  kinds  of  talent. 

THE  PSYCHOLOGY  OF  MUSIC  STUDIO 

This  studio  is  a  branch  of  the  Psychological  Laboratory  and  is 
in  charge  of  a  psychologist  and  a  musician  who  have  as  their 
assistants  trained  workers  who  can  make  these  measurements  by 

3 


the  best  approved  psychological  methods,  and  is  equipped  with 
instruments  designed  especially  for  this  work.  It  is  the  busi- 
ness of  those  in  charge  to  interpret  the  measurements  in  such  a 
way  as  to  give  concrete  and  accurate  knowledge  of  the  actual 
natural  capacity  of  the  person  examined  for  a  musical  educa- 
tion or  musical  achievement  and  to  show  on  specific  grounds 
whether  or  not  a  musical  education  is  worth  while,  why  musical 
education  should  be  of  one  kind  rather  than  of  another,  what 
musical  powers  are  most  promising  for  cultivation,  what  powers 
need" specific  training,  or  what  pitfalls  should  be  avoided,  etc. 
In  brief,  the  examiner  should  be  able  to  state  on  the  basis  of 
scientifically  observed  facts,  what  kind  of  musical  training  and 
achievement,  if  any,  the  pupil  is  adapted  for  and  what  is  the 
probable  extent,  of  achievement  and  rate  of  progress. 

THE  MUSICAL  TALENT  CHART 

These  measurements  may  be  shown  in  a  single  picture,  the 
musical  talent  chart.  Figures  1  to  5  are  such  talent  charts 
selected  frjom  a  series  of  more  than  three  hundred  which  were 
worked  out  for  University  students  during  the  past  school  year. 
As  soon  as  one  is  familiar  with  the  meaning  of  the  terms  and 
the  simple  method  of  scaling,  these  charts  give  at  once  a  cor- 
rect and  concrete  picture  of  the  equipment  that  an  individual 
has  in  the  form  of  musical  talent.  The  chart  is  no  more  com- 
plicated than  a  chart  of  physical  development  in  height,  weight, 
lung  capacity,  strength,  etc.  In  private  measurement  for  vo- 
cational guidance,  many  other  measurements  are  made  than 
those  here  indicated;  yet  the  charts  here  shown  are  fairly  com- 
prehensive. 

The  capacities  measured  are  named  at  the  left  hand  of  the 
chart.  Each  measurement  is  indicated  by  a  jog  in  the  talent* 
curve  on  the  scale  of  one  hundred.  Thus,  a  bar  in  the  100 
per  cent  line  means  that  this  person  stands  among  the  best  1 
per  cent  among  normal  persons  of  his  class.  These  standards  or 
norms  have  been  worked  out  by  measurement  of  large  numbers 
of  cases  and  separate  norms  are  used  for  adults  and  children  of 
various  ages.  This  method  of  "percental"  rank  makes  it  pos- 
sible for  any  one  to  interpret  even  the  most  complicated  meas- 
urements in  simple  terms. 

4 


Figure  1  is  a  record  of  a  young  man,  a  sophomore  in  the  Uni- 
versity, who  has  always  wanted  to  study  music  but  has  been  dis- 
couraged by  his  fath- 
er, while  his  two  sis- 


MUHCAi.  TAUNT  CHART 


TONAL  HKARLNU 


CONSONANCE 
MOTOR  ABILITY 
TIME  SEK8B 
FREE  RHYTHM 
REOULATED  RHYTHM 
RHYTHMIC  JUDGMENT 
ACUITY  Of  HEABIXNO 
LOUDNESS  DISCRMINAnOS 
SINOINO  KEY 
SINOINO  INTERVAL 
VOICE  CONTROL 


musical  expbcboom 


C 


£ 


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s 


Fio.  1 


ters  who  do  not  care  •*»"*-""<»«» 

jj  ,    .  TONAL  MEMORY 

tor  music,  or  achieve 
any  marked  success, 
have  always  been  en- 
couraged by  the  fath- 
er. Tracing  the  tal- 
ent curve  from  the 
top  downward,  we  see 
that  this  man  ranks 
90  per  cent  in  tonal  Brawn*  o?  voice 

,  .  „  _  ,       QUALITY  OF  VOICE 

hearing,  96  per  cent  TRAIN1!).Q 
in  tonal  imagery,  99  musical  appreciation 
per  cent  in  tonal 
memory,  94  per  cent 
in  consonance,  and  100  per  cent  in  motor  ability.  These  are  all 
very  high  marks  and  represent  unusually  good  talent  for  the 
appreciation  of  the  tonality  and  harmony  aspects  of  music.  The 
record  on  motor  ability  indicates  an  extraordinary  deftness  of 
the  hand  which  would  make  playing  for  him  easy  and  very  deli- 
cately controlled.  But  the  curve  drops  on  the  points  of  time- 
sense,  free  rhythm,  regulated  rhythm,  and  rhythmic  judgment, 
showing  that  he  is  not  well  adapted  for  music  in  which  the  time 
element  is  dominant.  Although  his  acuity  of  hearing  is  below 
average,  this  does  not  interfere  with  his  music  because  his  sensi- 
tiveness to  differences  in  the  loudness  of  sound  is  very  keen,  99 
per  cent,  which  mean  that  he  has  an  exceptionally  fine  apprecia- 
tion for  musical  expression.  He  sings  in  true  pitch  with  great 
skill,  although  practically  untrained,  and  has  fine  control  of 
voice,  although  his  lack  of  training  shows  in  his  ordinary  record 
for  the  singing  of  intervals.  He  has  a  very  wide  register  in  the 
pitch  of  the  voice  and  the  quality  of  his  voice  is  good  and  prom- 
ising for  development  with  training.  He  has  had  but  little 
training,  but  gives  evidence  of  a  high  order  of  musical  appre- 
ciation and  fine,  sensitive,  and  sympathetic  expression. 

This  is,  in  a  crude  way,  what  this  figure  shows  to  the  expert 

5 


at  a  single  glance.  In  the  more  extensive  examination  of  those 
who  intend  to  make  a  profession  of  music,  other  measurements 
besides  those  shown  in  these  figures  are  made,  depending  upon 
the  kind  of  music  the  person  is  interested  in  and  his  natural 
fortes  and  faults. 


MUBiL'AI.  TALUIT  CHART 


50       W       70       80       SO      l» 


h 


1 


4 


S 


N 


Fig.  2 


The       quantitative 

TONAL  HEARING 

measurements       are  TONAL  n^^ 
supplemented  by  gen-  tonal  memory 

,       .        r»  ,.  ,     IXJNSONANCF. 

eral  mtormation  and 

v,     i»i  w^jiui  ui    ^    MOTOR  ABILITY 

systematically  observ-  time  sense 
ed  facts  in  regard  to  ™™*m™ 

KEQULATED  RHYTHM 

life-history,  ambition,  rhythmic  judgment 
opportunities,  achieve-  ACD1T¥  0F  HEARn,N0 

LOUDNESS  DISCRIMINATION 

ments,  etc.     The  en-  emomo  „ 
tire  situation  is  judg-  kinging  interval 

j      l  „    ,  .  ]     VOICE  CONTROL 

ed  by  a  well-trained  mBnBorvoia 
and  successful  music  ouauty  of  voice 
teacher  who  has  the  TRADnN0 

fJUsaCAL  APPRECIATION 

scientific  and  artistic  musical  expression 
grasp  of  the  problem 
and  can  render  a  dis- 
interested decision  on  well-founded  and  accurate  information. 

In  the  same  way,  the  reader  can  now  interpret  to  some  extent 

the  other  four  figures, 
so  go  10*  which  are  inserted 
•  merely  to  show  how 
strikingly  these  talent 
charts  depict  individ- 
ual differences.  Fig- 
ure 2  is  the  record  of 
a  violinist  who  has 
marked  musical  abil- 
ity. Figure  3  is  the 
record  of  a  young 
woman  of  high  mus- 
ical ability  who  has 
some  trouble  with 
time  and  rhythm  as 


TONAL  HEARING 

TONAL  IMAGERY 

TONAL  MEMORY 

CONSONANCE 

MOTOR  AB1IJ.TY 

TIME  SENSE 

FREE  RHYTHM 

REGULATED  RHYTHM 

RHYTHMIC  JUDGMENT 

ACUITY  OF  HEABMNG 

SL0UDNE8S  DISCRIMINATION 

SINGING  KEY 

piNQINO  INTERVAL 

VOICE  CONTROL 

REGISTER  OF  VOICE 

QUALITY  OF  VOICE 

TRAINING 

MUSICAL  APPRECIATION 

MUSICAL  EXPRESSION 


MUSICAL  TALENT  CHART 

0       10       SO       30       40       50       00 


FlO.   3 


well   as   difficulty   in 


forming  of  mental  pictures  of 


TONAL  HE.Utt.SU 
TONAL  IMAGERY 
TON.VL  MEMORY 
CONSONANCE 
MOTOR  ABUJTY 
TIME  ■ 
FREE  RHYTHM 
REGULATED  RHTTHM 
RHYTHMIC  IIHUIM— I 

Acam  of  HEABDma 

LOUDNESS  DISCRIMINATION 

KEY 
SINGING  INTERVAL 
VOICE  CONTROL 
REGISTER  OF  VOICE 
yCALTTT  OF  VOICE 
TRAINING 

MUSICAL  APPRECIATION 
MUSICAL  EXPRESSION 


MUSICAL  TAXJCST  CILUtT 
0       10      20      30       W       ft 


d 


7 


Fig.  4 


tones,  but  has  a  beautiful  voice 
which  she  is  develop- 

70       90       SO      1*     .  . 

ing.  Figure  4  is  the 
chart  of  a  young  lady 
who  is  markedly  de- 
ficient in  musical  ca- 
pacity throughoutand 
has  not  profited  by 
her  extensive  musical 
education.  This  may 
be  contrasted  with 
Figure  5  which  shows 
a  case  of  unusually 
high  natural  talent 
for  music,  though  rel- 
atively uncultivated. 


PROFESSIONAL  EXAMINATION 

This  laboratory-studio  is  maintained  at  the  University  for  the 
service  of  the  people  of  the  state.  Persons  who  are  planning 
to  devote  themselves  seriously  to  music,  will  find  it  worth  while 
to  come  to  the  studio  to  be  examined.  A  talent  chart,  like  the 
above,  will  be  worked  out  and  the  closest  personal  attention  will 
be  given  to  each  indi- 
vidual examined  f or  ^^  „,„„„ 
the  purpose  of  point-  ™«al  «*«" 

• .  .1  .      _.     TONAL  MEMORY- 

ing    out    the    extent    _ 

°  CONSONANCE 

and  nature  of  the  va-  motor  ability 


MUSICAL  TALENT  CHAHT 
0       10       20      30       «0       50      60       7 


rious  traits  of  musical  mat 

FREE  RHYTHM 

talent  and  their  bear-  moclated  rhythm 
ing  upon   the  choice  *HTTHlflc  ^wment 

.  ACUITY  or  HEARINNG 

of  vocation  or  avoca-  wmtlBia  Dt8CIBMDiATI0N 
tion,  the  planning  of  w"'"1 

dp  .  !         SINGING  INTERVAL 

training  for  the  ..  ,„  ^^^ 

°  VOICE  CONTROL 

same,  and  a  forecast  mow™  or  nor 
of  the  probability  of 9DAUTT 0F  V0,CE 

r  *  TRAINDIO 

marked  success.  musical  appreciation 

The     thoroughness  *ra,Ctt  m*«noM 
of    this    examination 


90      10 


? 


? 


^ 


P 


Fig.  5 


will  vary  iu  extent  with  the  importance  of  the  situation  and  the 
seriousness  with  which  it  is  regarded  by  the  person  to  be  ex- 
amined. It  will  take  about  three  days  of  continuous  work  with 
one  person  to  make  twenty  measurements.  Those  who  wish  to  be 
examined  should  come  prepared  to  stay  that  length  of  time. 

The  most  desirable  time  to  make  the  examination  of  children 
is  about  the  age  of  ten  or  twelve,  although  many  of  these  tests 
can  be  made  to  advantage  on  younger  children.  By  the  age  of 
ten,  children  have  had  opportunity  to  show  their  interest  in 
music  and  it  is  still  early  enough  to  plan  preparation  for  a  musi- 
cal career. 

The  studio  will  be  of  special  service  to  more  mature  pupils 
who  have  encountered  difficulty  in  their  musical  training.  Teach- 
ers are  therefore  invited  to  send  pupils  for  examination  in  order 
that  they  may  learn  the  specific  nature  of  the  cause  of  their  diffi- 
culties. All  records  of  professional  examinations  are,  of  course, 
kept  in  privacy  at  the  discretion  of  the  person  examined  or  his 
sponsor. 

Although  this  service  is  free  to  the  people  of  the  state,  it  is 
necessary  to  charge  a  small  registration  fee  in  order  to  protect 
the  studio  from  imposition  by  persons  who  are  not  going  to  make 
serious  use  of  the  measurement.  At  the  present  time,  this  fee  is 
three  dollars  and  will  entitle  one  to  a  three-day  examination.  If 
this  were  not  the  service  of  a  public  institution,  the  charge  for 
such  service  would  be  at  least  ten  times  that  amount.  All  ap- 
pointments for  examinations  should  be  made  at  least  two  weeks 
in  advance. 

MUSIC  SURVEYS  IN  THE  PUBLIC  SCHOOLS 

The  staff  of  the  Psychology  of  Music  Studio  is  prepared  to 
make  a  limited  number  of  surveys  for  vocational  guidance  in 
music  among  children  of  the  public  schools.  For  the  coming 
year  the  plan  is  to  take  the  children  in  the  eighth  grade  in  each 
of  a  few  cities  of  this  state. 

Some  of  the  fundamental  tests  are  so  adapted  that  they  can  be 
made  on  about  one  hundred  children  at  a  time.  Five  or  six 
such  tests  will  require  about  eight  half -hour  periods  in  all  from 
the  children.  The  results  of  these  will  serve  as  a  sort  of  dragnet 
through  which  marked  talent  or  lack  of  talent  will  be  revealed. 

8 


The  tests  are  so  organized  as  to  be  of  great  value  as  exercises 
in  the  course  of  music.  Indeed,  some  of  them  are  being  intro- 
duced in  the  course,  as :  time-judging,  precision,  tone-imaging,  etc. 
Therefore,  if  the  time  may  be  credited  to  music,  not  a  moment 
of  the  pupils'  time  will  be  wasted.  The  tests  serve  the  purpose 
of  arousing  interest  in  music  and  have  an  important  mission  in 
calling  the  attention  of  individuals  and  the  community  to  the 
significance  of  musical  talent.  It  is  predicted  that  tests  like 
these  will  in  the  near  future  be  used  by  progressive  music  super- 
visors as  part  of  the  regular  instruction  and  guidance  in  music 
in  the  schools. 

Although  this  series  of  class  tests  is  necessarily  somewhat  crude 
and  incomplete,  it  serves  the  purpose  of  a  preliminary  sifting. 
The  very  good  and  the  very  poor  will  be  identified  with  consider- 
able certainty  and  all  will  be  ranked  roughly  in  the  order  of 
their  natural  ability.  The  results  will  be  discussed  with  teachers 
and  parents  and  due  caution  will  be  exercised  in  preventing  hasty 
conclusions. 

Such  a  service  may  bring  out  great  surprises  in  the  discovery  (/ 
of  unsuspected  and  latent  talent.  The  finding  of  a  few  before 
unknown  but  really  promising  children  may  be  of  great  value 
for  the  art  of  music  and  for  the  making  of  a  successful  career 
for  these  children.  It  may  lead  to  further  examination  and  pro- 
vision for  proper  musical  education. 

These  surveys  are  in  the  nature  of  a  demonstration  and  prac- 
tical application  of  this  new  method  of  vocational  guidance.  They 
will  be  undertaken  only  where  the  hearty  co-operation  of  the  su- 
pervisor of  music  and  the  other  school  officers  can  be  obtained. 
The  plan  of  the  survey  provides  for  a  definite  system  of  follow-up 
work  through  supervisors  of  music,  teachers,  and  parents. 

Here,  again,  the  service  is  rendered  free  to  the  state,  bnt  the 
school  board  or  some  organization  such  as  that  of  a  women's  club 
will  be  expected  to  pay  the  traveling  expenses  and  maintenance 
during  the  time  that  the  examiners  are  in  the  city.  The  present 
plan  is  to  spend  from  one  to  two  weeks  in  each  place  where  the 
experiment  will  be  undertaken.  During  this  time,  a  special  class 
will  be  maintained  in  the  evening  for  persons  who  arc  especially 
interested  but  who  are  not  in  the  grades  that  are  being  examined. 

9 


THE  ECONOMIC  VALUE  OF  SUCH  VOCATIONAL 
GUIDANCE 

"The  editor  of  one  of  our  leading  music  journals,  with  much 
patience  and  persistence,  and  at  considerable  expense  and  effort, 
has  gathered  statistic,  for  whose  accuracy  he  vouches,  which 
would  indicate  that  the  American  people  spend  each  year  for 
musical  education  the  sum  of  $220,000,000,  not  including  the 
$7,500,000,  which,  until  the  war,  was  annually  spent  abroad  by 
American  students.  .  .  We  are  every  year  spending  approx- 
imately four  times  as  much  for  musical  education  as  for  all  the 
public  high  schools  of  the  country,  nearly  three  times  as  much 
as  for  all  our  Colleges,  Universities,  and  professional  schools,  and 
twenty-four  times  as  much  as  for  our  Normal  Schools ;  or,  in  oth- 
er words,  we  are  spending  nearly  $40,000,000  a  year  more  for 
musical  education  in  this  professedly  non-musical  country  than 
for  all  High  School,  Normal,  Professional,  College  and  University 
teaching.  Of  course,  I  realize  that  Mr.  Preund's  figures  might 
shrink  somewhat  if  subjected  to  the  same  pitiless  scrutiny  as  the 
Government  reports,  but  even  if  they  should  shrink  one-half,  they 
would  still  overlap  by  nearly  $25,000,000  the  largest  item  in  the 
bill  for  higher  education  in  this  land."  (From  the  annual  ad- 
dress of  the  President  of  the  National  Music  Teachers'  Associa- 
tion, December,  1915.) 

This  statement,  with  whatever  reservation  it  may  be  taken, 
shows  that  vocational  guidance  in  music  presents  a  remarkable 
economic  issue.  It  is  safe  to  say  that  a  very  large  portion  of  the 
enormous  sum  of  money  spent  on  musical  instruction  is  worse 
than  wasted,  because  spent  on  persons  who  have  no  adequate 
musical  talent;  and  the  most  recent  investigations  tend  to  show 
that  not  one-half  of  the  persons,  in  a  given  community,  who  have 
a  high  order  of  musical  talent  are  discovered  and  given  a  fair 
chance  of  a  musical  education. 

This  economic  problem  looms  up  large  today,  as  it  has  never 
done  before,  because  we  are  in  the  midst  of  a  campaign  to  uni- 
versalize musical  education.  This  campaign,  be  it  based  on  edu- 
cational theory,  social  fad  or  fancy,  or  the  mere  performance  of 
the  newly-rich,  forces  music  upon  larger  and  larger  numbers  of 
those  who  are  unfit,  and  at  the  same  time  makes  us  unconscious 
of  the  neglect  of  the  gifted. 

"Dollars  talk."  But  this  economic  issue  is  of  course  very 
small  in  comparison  with  the  problem  of  the  conserving  of  hu- 
man energies,  the  discovery  of  genuine  talent,  and  the  freeing  of 

10 


the  non-talented  from  the  curse  of  maladjusted  effort,  as  estimat- 
ed in  terms  of  the  loss  or  gain  to  art,  or  the  use  or  abuse  of  hu- 
man energies. 

PROCEDURE  TENTATIVE 

So  far  as  we  are  aware,  this  movement  is  new  and  unique  in 
its  scope,  its  scientific  basis,  and  its  public  service.  For  the  last 
fifteen  years,  a  body  of  research  students  have  been  al  work  in 
the  Psychological  Laboratory  under  the  direction  of  the  writer 
concentrating  their  efforts  upon  this  one  problem  of  developing 
the  methods  and  means  of  measuring  musical  talent.  We  have 
no  complete  system;  our  attitude  is  that  of  the  investigator  in 
pure  science,  open-minded,  always  struggling  to  make  improve- 
ments and  frank  in  the  confession  of  our  limitations.  Since  this 
is  not  a  money-making  affair,  we  are  free  to  proceed  patiently  in 
the  effort  to  develop  this  fascinating  phase  of  vocational  gaid- 
ance  on  a  sound  scientific  basis.  This  accounts  in  part  for  the 
fact  that  we  have  been  slow  in  publishing  methods,  norms,  and 
interpretations  as  they  have  been  gradually  developed.1 

The  chief  examiner  at  the  present  time  is  Mrs.  Esther  Allen 
Gaw,  a  professional  music  teacher  who  has  enjoyed  both  genera i 
and  musical  education  in  this  country  and  abroad  and  is  now 
devoting  her  entire  time  to  this  field  of  applied  psychology. 
Other  members  of  the  staff  co-operate  with  her  in  various  capaci- 
ties. All  communications  relative  to  this  work  should  be  ad- 
dressed to  the  writer  who  has  general  charge  of  the  work. 

1  The  first  general  outline  of  this  work  was  given  in  the  writer's  pres- 
idential address  before  the  American  Psychological  Association,  entitled 
"The  Measure  of  a  Singer"  (Science,  Vol.  XXXV,  No.  893,  February  9, 
1912).  The  same  general  treatment  is  followed  in  the  section  "Mental 
Measurement"  in  the  author's  Psychology  in  Daily  Life  (Appleton's),  and 
one  specific  illustration  was  given  under  the  head  "Measurement  of  Musi- 
cal Talent"  (Musical  Quarterly,  Vol.  I,  January,  1915,  The  Schirmer  Pub- 
lishing Co.,  New  York).  Technical  reports  on  particular  measurements 
have  appeared  in  various  journals,  especially  in  the  University  of  Iowa 
Studies  in  Psychology. 


11 


UNIVERSITY  of  CALIFORNIA 


LOS  ANGELES 
Ll> 


Lithomount 

Pamphlet 

Binder 

i  Gaylord  Bros.  Inc. 

Makers 

Stockton,  Cam. 

PM.  lftH-21.  19CB 


H 


This  book  is  DUE  on  the  last  date  stamped  below 


m 


1945 


DEC*     »" 

JAN  15  194* 


«JAW  li 


JAN  2  6  195fr 

Form  L-9-15m-7,'32 


REC'DCQI    >fB 


UL'   2  9I964 

NOV    2  1964 


AM. 

8(9110111112111213 


P.M. 

4151=5 


